Showing posts with label blues guitar. Show all posts
Showing posts with label blues guitar. Show all posts

By a Thread-Tour Edition Review

By a Thread-Tour Edition
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I've been a Mule fan since the first album. Seen them twice, once back in the day, the second time a few months ago.
Just got the new album and love it. I love Warren's playing and singing. The band seems to have gelled into a more cohesive unit, and in new bass player Jorgen, I think warren's found his felix pappalardi.
I'm surprised to see the negative reviews here. Really? You guys don't like this?
All musicians change (if they're paying attention to their muse) and warren has taken a turn more towards hard rock, classic rock then blues.
The riffs and songs are groovier and crunchier. That's why I like 'em. The sound of the album is more like a led zep or hendrix record, without being imitative, but with warren's great voice.
The band has evolved and grown and changed. Warren's tone has changed, on this record. You want blues, listen to the Allmans. (who i love as well.)
You want crunchy, funky, groonin' guitar tone and playing, buy this CD!
I can't believe you guys don't love this!


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2009 release, the first studio album in three years from the critically lauded Rock outfit. Recorded largely at Willie Nelson's Pedernales Studio in 2009, the album s origins are apparent from the first track, 'Broke Down On The Brazos', named after the nearby river, with a deep Texas stomp for the backbeat and featuring the trademark guitar-work of ZZ Top founder Billy Gibbons.--This text refers to an alternate Audio CD edition.

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The Allman Brothers Band - Live at the Beacon Theatre (2003) Review

The Allman Brothers Band - Live at the Beacon Theatre (2003)
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An excellent live concert release from one of the original jam bands. Here The Allman Brothers Band present an uncut 2 Hour and 48 minute concert recorded in March 2003 at The Beacon Theater in New York. Although a few Allman Brothers classics like Ramblin Man, Jessica, In Memory of Elizabeth Reed, and Revival are not here they are included on other video releases and what is included here is excellent and worthy of 5 stars. The 5.1 sound and video quality are excellent and the band is as tight as they have ever been. This version of the Allman Brothers Band (Founding members Gregg Allman, Jaimoe, and Butch Trucks, along with longtime band members Warren Haynes, Marc Quinones, and Oteil Burbridge, and more recent addition Derek Trucks doing a good job filling Dickie Betts' shoes) seem to be really enjoying themselves on stage and it comes through in the quality of the music.
Besides the concert, the double DVD release also includes approximately 1 hour and 15 minutes of interviews and behind the scenes footage. There is a also a very good dressing room performance of Old Friend by Warren Haynes and Derek Trucks along with a photo gallery and discography.
Here is the Track Listing:
1. Ain't Wastin' Time No More
2. Black Hearted Woman
3. Statesboro Blues
4. Woman Across The River
5. A Change Is Gonna Come
6. Maydell
7. Come & Go Blues
8. Rockin' Horse
9. Desdemona
10. Don't Keep Me Wondering
11. Midnight Rider
12. Soulshine
13. High Cost Of Low Living
14. Leave My Blues At Home
15. Old Before My Time
16. The Same Thing
17. Melissa
18. Instrumental Illness
19. Worried Down With The Blues
20. Dreams
21. Whippin' Post
22. One Way Out

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Seven Turns Review

Seven Turns
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The Allman Brothers Band released their comeback album, Seven Turns, in 1990. The band was riding a wave of momentum as old fans were reminded of the band's powers with the release of their 4-CD box set retrospective, Dreams. In addition, a new whole audience discovered the band's greatness on their 1989 tour. Original members Gregg Allman, Dickey Betts, Butch Trucks, and Jaimoe were joined by guitarist Warren Haynes, keyboardist Johnny Neel, and bassist Allen Woody. The inclusion of both Haynes and Neel indicate an attempt to not only recreate the magic of the two-guitar lineup of Betts and Duane Allman but to also relive their popular Brothers and Sisters album in which Chuck Leavell's piano added another weapon to the band's impressive arsenal. The infusion of new blood is very apparent as the performances on Seven Turns show a classic band regaining their hunger. Allman certainly was feeling the vibe as his vocals on this album are arguably the best of his career. Whether it's on the smoking rocker "Good Clean Fun" or on the bluesy tracks "Low Down Dirty Mean" and "Gambler's Roll", Allman sounds reborn. "Let Me Ride" is a cool country rocker from Dickey Betts while "Shine It On" is a driving slice of southern rock. "True Gravity" is another strong jazz inflicted instrumental to add to their collection and is highlighted by Neel's impressive piano solo. The title track is a modern classic in the country rock vein with a memorable chorus and some cool slide guitar during the outro. The remaining tracks "It Ain't Over Yet" and "Loaded Dice" are also very good. All told, while Seven Turns is not on par with their best work, it's a very strong comeback and easily their best album since Brothers and Sisters.

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I Want It All Back Review

I Want It All Back
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For fans of Coco Montoya, this disc will come as a bit of a surprise. This is NOT a blues album. Let's face it, Montoya, as good as he is, has made the same guitar oriented blues/rock since the early 90's. This time around the guitar playing is terrific as always, but shall we say restrained. It's Montoya's underrated, superb vocals that are center stage. Backed by a crack band that includes Keb Mo playing tasty rhythm guitar as well as co-producing. This has much more of a soul/r & b vibe. Standout tracks include the cover of the Motown gem "The One Who Really Loves You". "Fannie Mae", featuring Rod and Honey Piazza offering their usual tasteful harp and piano work really pops. Also, the groove laden "Don't Go Makin' Plans" co-written by Little Feat's Paul Barrerre sounds both soulful and funky. It's about time Montoya gets his just due as a great vocalist. This is a nice change of pace, while it won't be for the blues purists, it sure does sound good.

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"Coco Montoya is one of the reasons people mistakenly think blues is easy music to play. His fierce attack is so expert yet sounds so effortless that it makes you believe anyone armed with 12 bars and six strings can pull it off." -- Billboard "Few blues guitarists performing today can top the intensity of former John Mayall sideman Coco Montoya's torrid, Albert Collins-inspired attack. Shards of shivering, feedback-enhanced blue notes fly off the Southern California picker's ax and cut deep into the rhythm section's grooves." -- San Francisco Chronicle "Blistering contemporary blues ... piercing attack; funky, shivery guitar tones; and aggressive, soulful vocals." -- Blues Revue* Catalog has scanned well over 200,000 units! * Over the course of his 30-year career, guitarist and vocalist Coco Montoya's explosive guitar playing and soul-driven voice have propelled him to the upper reaches of the blues-rock world. * From his early days as a drummer to his current status as one of the top-drawing guitarists and vocalists on the blues-rock scene, Montoya has forged his reputation through years of hard work and constant touring. * Averaging over 200 tour dates a year, Montoya packs clubs and theaters around the world. He has played major festivals, including the New Orleans Jazz & Heritage Festival, Chicago Blues Festival, San Francisco Blues Festival, and Canada's International Jazz Festival * Has received glowing praise from the Blues Revue, Living Blues, Village Voice, Billboard, San Francisco Chronicle, Philadelphia Daily News and much more--all of which have ranked him among the best guitarists and singers on the blues scene.

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Live From Across the Pond Review

Live From Across the Pond
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This isn't a review of the album, it's a review of Ted Drozdowski's (?) editorial review. I just heard Cray open for Clapton in Dallas a few nights ago. I didn't hear Cray downplaying his "incendiary" guitar abilities on stage, either in this album or the recent concert, as Drozdowski contends. B.B.King says he plays in "sentences." Cray is similar--but with longer, more complex sentences. Still, though, sentences. The contrast was startling when Clapton came out and played his melodic paragraphs. Neither is better. They're the unique voice of the respective artist. Cray is so smooth that the transition from vocal to guitar solo is seamless. He's always "incendiary," but it's often a slow burn.
Oh, and BTW, Cray doesn't have a "whammy bar." He plays a Strat with a hard-tail bridge (i.e., no tremelo).

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Voice of the Wetlands Review

Voice of the Wetlands
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If you are a "true" Tab Benoit fan this is not what you are looking for. It is, however, a great all around "Lousiana Blues" (not cajun) CD. I prefer Tab and Tab alone! Enjoy!!

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Celebrate the bayou while helping to save it! Acclaimed blues guitarist Tab Benoit is joined by Louisiana All-Stars including Dr. John, Cyril Neville, The Meters rhythm section and others on this hot and spicy New Orleans blues party!A portion of proceeds from the sale of this CD go to "Voice Of The Wetlands," a non-profit organization battling cultural and coastal erosion.

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Blue Again Review

Blue Again
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If you are a fan of the early Mac and the sounds of Peter Green, Jeremy Spencer, Danny Kirwin, John McVie and Mick Fleetwood, you must purchase this great CD! Recorded live and sounding like just like that early Mac blues sound, the material is outstanding. Rick Vito does some great Peter Green solos and his singing is very evocative of Peter's vocal stylings.
This CD should please all fans of British Blues. Again, it's a must own for fans of early Mac.
Highly recommended.

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Revisiting the blues and the blues-oriented classic songs of Fleetwood Mac, iconic rock drummer and band co-founder Mick Fleetwood has assembled a hand-picked quartet of musicians, The Mick Fleetwood Blues Band, who've created this stunning new live recording. Equal parts blues rave-up and loving homage to the early incarnation of Fleetwood Mac, BLUE AGAIN is a showcase for Fleetwood, who has teamed up on this recording with guitarist and lead vocalist Rick Vito, bassist Lenny Castellanos and keyboardist Mark Johnstone. This powerhouse blues project features versions of early Peter Green-penned hits such as 'Black Magic Woman,' 'Albatross' and 'Rattlesnake Shake' as well as original material composed by Rick Vito (with a rollicking version of Elmore James' 'Shake Your Moneymaker' included for good measure). Produced by Mick Fleetwood and Rick Vito, BLUE AGAIN was recorded live at the Sheldon Concert Hall in St. Louis, Missouri in February of 2008. The immaculate recording gives the songs a vibrant, modern immediacy which transcends easy nostalgia. Says Mick in the liner notes: 'Over my career I've been called a pop star and a rock star, yet in my inner heart, I will always be part bluesman. On my journey from blues to a life of rock n roll, I've always remembered where I started.' BLUE AGAIN is both an original musical tour de force and a respectful tribute to Fleetwood Mac (in the midst of celebrating their 40th Anniversary), initiated by the sole member of the band to be in every incarnation from the beginning. A companion DVD is scheduled for release in Fall 2009.

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Eric Clapton & Friends: Live 1986 (1986) Review

Eric Clapton and Friends: Live 1986 (1986)
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First, let me tell you that, being a Clapton fan I try to get hold of everything he releases, whether official or not, and of my modest collection, this is, along with the Hyde Park concert of 1996, one of the best performances caught on video.
As part of the small tour of 1986 he did, this England unique date of a 2-day leg, features Phil Collins on drums, Greg Phillinganes on Keyboards and bassist extraordinaire Nathan East. The tight sound is amazing and as other reviewer mentioned, for a 4 piece, the sound is great, like a steam roller downhill!
As for the Dvd release, this concert had been out in VHS form and now the DVD makes justice to the sound with DTS and 5.1 features. Video quality does not improve much upon the original tape, but I guess just there's so much you can do with a 1986 videotape. As far as extras, this release has none but the simples menu and intro animation with a small 3D guitar spinning around.
I love this concert so much I'd like to see a few more tracks, or some commetary by one of the performers. Anyway, it is a great document in Clapton's career and "comeback" of the mid 80's. Recommended!

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ERIC CLAPTON & FRIENDS LIVE 1986 - DVD Movie

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Eric Clapton - Live in Hyde Park (1997) Review

Eric Clapton - Live in Hyde Park (1997)
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This is Eric Clapton at his best. EC has not played with this much fire and intensity since the 70's, including his Derek And The Domino's days. His guitar playing is absolutely FEROCIOUS...which probably shouldn't come as a big surprise, as this concert took place during his 'Back To The Cradle' period, his most convincing and inspired studio album in ages.
The sound quality on this DVD is superb. As it should be, because the incredible TONES Clapton coaxes out of his guitar and amp are that which most guitar players would kill for.
The image quality is also outstanding, very clear and sharp. The camera work is great, with LOTS of closeups of EC and his guitar during the solos, which is an added treat for guitar junkies (myself included.)
For my money, this is the BEST Eric Clapton concert film available. If you're an Eric Clapton fan, this DVD is the one to get.
(NOTE: The DVD edition contains two songs not included on the VHS version: smoldering renditions of "Hoochie Coochie Man" and "It Hurts Me Too".)
HIGHLY RECOMMENDED.
Jun 14,2002...

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Eric Clapton has achieved the seemingly impossible, becoming more popular in his most recent 10 years onstage than in his first decade in the spotlight. His 1997 Live In Hyde Park home video documented a triumphant concert of the previous summer that followed his massive "Tears In Heaven" hit a few years earlier. This is classic rockin' and guitar-wailin' blues-is-king Clapton, from new versions of his Derek and The Dominos' "Layla" and "Have You Ever Loved a Woman" to Cream's "White Room" and "Badge" to his solo hit of Bob Marley's "I Shot the Sheriff" to B.B. King's "Every Day I Have the Blues." Added to the original home video's lineup is Clapton's rendition of the Muddy Waters electric blues "Hoochie Coochie Man" and the blues standard "It Hurts Me Too," which Clapton reprised on From the Cradle. Other tracks include: Wonderful Tonight; Five Long Years; Tearin' Us Apart; Old Love; I'm Torn Down; Holy Mother. 89 minutes.

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Sessions For Robert J. (CD + DVD) Review

Sessions For Robert J. (CD + DVD)
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Eric had released "Me and Mr. Johnson" only six months ago. It was o.k., but I didn't see anything particularly compelling about it. Some songs were good, a continuation of the Blues material he released on "Behind the Cradle" a few years ago, only this time the focus was exclusively on Robert Johnson material, but a few were lackluster walk-throughs. In addition, the performances were entirely electric, full band efforts which is partly why I was disappointed. I felt that Eric was too comfortable hiding behind a full band set-up. For anyone who has really "gotten it" in terms of what Robert Johnson was all about, acoustic seems the way to go - you want to get to the heart of it all - you just can't hide if it's only you and the guitar. Peter Green made the same misstep a few years ago with his own Robert Johnson compilation. It too was primarily a full band set up. What you really hoped for was a stripped down session with just one guy and his guitar and some real soul - something that Robert Johnson was able to pull off in the 1930's, but something that wealthy white rockers nurtured on stadium rock don't seem to be comfortable with. Robert, after all, performed face-to-face with small house party audiences - obviously he had to bare it all night after night... Eric and Peter had gotten too comfortable with huge stadiums. Still... you have this hope that guys as talented as Peter Green and Eric Clapton have it in them somewhere and you just need to get them to take the chance. Is it possible?

This latest release by Clapton ("Sessions for Robert J.") continues to be exclusively about Robert Johnson songs. Yes, many of the songs are duplicated on the two CD releases ("Me and Mr. Johnson" and "Sessions for Robert J"), but each performance is different on the respective albums. In fact, "Sessions for Robert J." actually contains two different versions of "Hell Hound on my Trail" and "Love in Vain" (yet a third version of "Love in Vain" was originally released on "Me and Mister Johnson" so that there are now three completely different versions available).
O.K. so how is the new "Sessions for Robert J."?

In a word - "STUNNING!"

This is all that I could hope for and more since it is all on DVD in 5.1 Surround Sound. I rank this album as being quite a bit better than "From the Cradle". Watching Eric actually perform these songs on the TV screen is a revelation. And yes, some of it is just Eric and his guitar! But perhaps the best is the session where Eric plays with just one other guitar player - Doyle. It is truly entertaining to watch these guys stay in step with each other on these technically difficult songs - I have learned to play some of these songs in slide guitar and these are tough enough to just play solo!

About half of the songs are with a full band and I have to say (regardless of what I said above) that these are great! Yes, acoustic versions would be nice (and you can choose between electric and acoustic for "Hell Hound on My Trail"), but the full band approach on "Sessions for Robert J." does not disappoint at all! Eric pulls it off and really throws his heart into the performances - no "walk through" performances here! I think this is where "Sessions" outperforms the earlier "Me and Mister Johnson". I felt the energy on "Sessions" whereas "Me and Mister Johnson" seems more workman like. And I would hazard a guess to say that perhaps Eric felt the same way. After all, you have to wonder why he chose to release a second Robert Johnson album (with a huge duplication of song titles) inside of six months if he was really happy with the first effort? Well, whatever the reason, "I'm So Glad" he did! By the way, bluesman Skip James wrote that particular song, not Robert...

My favorite songs on "Sessions":

"Terraplane Blues" - Eric and Doyle run through this song like a sharp knife through watermelon - they absolutely nail it! I would have paid the 20 bucks just to have this one song! Historical note: this song was actually performed by Eric in the same Dallas Texas hotel third floor where Johnson originally recorded it in the 1930's! In any case, Eric's vocal is simply amazing! Wow! I have a live version of Eric doing this same song solo in 1994 (a very rare performance - I'm not aware that he ever did it again in concert during that tour) - it was one of my all time favorites and now I have the same song in much better fidelity and an even better performance! Yes, there IS a God in heaven - thank you, thank you, thank you!!!
"Rambling on my Mind" & "Stones In My Passway" - Eric performing acoustic solo. These are basically the way I always thought it should be done, one man with one guitar - Peter Green please take note!

"Milk Cow Blues", "Traveling Riverside Blues" & "If I had Possession Over Judgment Day" - Eric with the full band. These rock! Very intense and meant to be played loud. Sounds great on 5.1 DTS.

By the way, my least favorite song is "They're Red Hot" - an atypical song in the Johnson cannon, but I do like Eric's version better than Robert Johnson's original! And it is growing on me - it's just that it's too "happy" for a blues album!

Having said all this, I realize that listening to the original 1930's Robert Johnson songs on scratchy old 78s is an acquired taste for some, but this is probably because few people today are willing to listen to low-fidelity recordings. Please note that the latest releases of the original "King of The Delta Blues" (volume 1 and volume 2) have been remastered (yes, I know - how many times do they need to endlessly remaster this stuff?) and this time on some tracks the vocals and bass have a clarity and presence that far exceeds both the two Columbia box set releases and even the Gold disc. A lot of the hardness in Robert's voice remains on a few tracks, but often it has been toned down a bit in the latest transfers and the bass is much higher in the mix - overall, I think it just sounds better now even if the hiss and ticks and pops are now actually more pronounced - less digital noise reduction seems to result in better fidelity here. In any case, try these most recent remasters if you had a problem with the sound quality of the sterilizing noise reduction used on the Columbia box set (which was re-remastered a second time around 1996 when the smaller box was issued - stay away from the original long box issued in 1991 which now has the worst sound available). I have learned to play several Robert Johnson songs on slide guitar and through that experience found genius not just in his execution, which of course is perfect, but also in Robert's arrangements. The simple truth is that Robert Johnson with his limited resources (poor Black man in the 1930's in the deep South) was perhaps an even a more naturally gifted musician than Eric Clapton - if that is even possible! This assessment is reinforced by Eric himself in the section in the DVD where he discusses how hard it is for him to sing in a different tempo than the guitar as Robert often effortlessly does. So take it from there...
By the way, if you go directly to the various sessions in the DVD you will miss the mini-interviews with Eric. You have to click on "play all" to get the entire presentation. I had been just clicking on the individual sessions thereby missing the interviews until I found them accidentally.
Please note that the companion CD is missing something like half of the performances included in the DVD! My solution was to make my own compilation direct from the DVD with ALL the songs - it will fit nicely on one 80 minute CD-R.
Bottom line, Eric finally does justice to his blues influences (this is even better than "From the Cradle") and created yet another classic in the process.




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Live, intimate, and raw, Sessions For Robert J is the essential audio/video companion to Eric Clapton's 2004 gold, Top 10 Me And Mr. Johnson, tribute to blues legend Robert Johnson. Filmed during tour rehearsals in London and Dallas plus a Los Angeles hotel room and the Dallas warehouse where Johnson made some of his final recordings, Sessions for Robert J finds Clapton performing all Robert Johnson songs with his touring band, acoustically with Doyle Bramhall II and solo-as well as discussing Johnson and his influence. A performance/documentary DVD with 14 tracks (from which the 11 CD selections are taken), Sessions for Robert J is blues heaven.

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Eric Clapton: Crossroads Guitar Festival (2004) Review

Eric Clapton: Crossroads Guitar Festival (2004)
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I was lucky to attend the festival in Dallas this summer. While the songs selected for the DVD aren't always the ones I would have picked (Buddy Guy blew everyone else away, but he is conspicuously absent except for the ensemble numbers), this is nontheless sure to be a great DVD. Clapton was brilliant as usual, Santana was fantastic and ZZ Top were their usual eccentric selves.
John Mayer, Jonny Lang and Robert Randolph were all excellent newcomers in the mostly over-50 lineup. Jimmie Vaughan and his Tilt-a-whirl band served as a fantastic houseband, backing up the many blues legends on hand.
Some disappointing omissions ... Robert Randolph's "I Need More Love" ,a surprising show-stealer on the second day of the festival is not listed. Same with John Mayer's "Come Back To Bed". Styx put on a surprisingly good set of cover tunes, from the Beatles' "I Am The Walrus" to BB King's "The Thrill Is Gone". Also, Eric Clapton's set on the third day included a nice selection of songs from his new album of Robert Johnson covers that are omitted here.
That said, I still pre-ordered my copy as soon as I saw it announced. They could have made it a four disc set with more material and doubled the price and I still would have bought it.

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In June 2004, some of the greatest living guitar players and their bands gathered at the Cotton Bowl in Dallas, Texas, for a three-day festival to benefit the Crossroads Centre in Antigua. It was the ultimate concert for any music lover, featuring one legend after the other: Eric Clapton, BB King, Buddy Guy, Eric Johnson, James Taylor, Jimmie Vaughan, Joe Walsh, John Mayer, Robert Cray, Robert Randolph, Santana, ZZ Top, and many more. This 2-DVD set beautifully documents the event and contains over 4 hours of content. Planned extras include in-depth artist interviews, a mini-documentary, photo gallery, alternate angle, and more. Royalties from the DVD sales will benefit the Crossroads Center.

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Live at the Regal Review

Live at the Regal
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As has been noted, this is one of the essential albums, one of the records that everyone is supposed to have like John Coltrane and Johnny Hartman, like Robert Johnson, like the music Billie Holiday made with Lester Young for Columbia, like Louis's Hot 5s and Hot 7s, like Elvis's Sun Sessions.
Beyond that, this is something that has become increasingly rare, a live blues recording where the music is played for blues people, African American working class and middle class blues people in an urban center. This all about singing and swinging and jiving and talking to the audience and the audience talking back.
When I was in Mississippi in the mid 1960s doing civil rights work, I met Blues People who loved BB King who didn't know that he played the guitar. The expression always was and still is 'BLUES SINGER," not blues guitarist. He sang the blues the way they needed to listen to and in a Blues People venue the folks will talk back to him too.
My favorite, classic moment of the blues dialog here is in "It's my own fault baby" where Riley sings "I gave you seven children, and now you want to give 'em back." All the sistas in the audience scream. Gruffer sounds came from the men.
What is essential to blues performance for BLUES PEOPLE is the constant dialog between the singer and the audience that is the heart of the native blues experience. The dialog isn't about the impeccable guitar playing on this record, or the totally righteous playing of the band, or even the fine voice of Riley B. King here, but it is about what the words the lyrics speak to the lives of the audience, and what the audience responds to the singer. That's the center of blues, not heavy guitar licks that the post-folk-post rock blues fan thinks is the essence of heavy blues.
It's a shame the audience for the blues has almost disappeared, that blues stars no longer play in big "Chitlin' Circuit" theaters like the Regal, the Apollo, the Howard, the old non hippie Fillmore, or that you can't see Riley or Bobby Blue Bland in smoky little night clubs in the ghetto.
Perhaps, I am showing my age here, because time has to roll on. I am sure that night at the Regal there was someone who could remember when the sistas and their men would be shouting back at things Bessie Smith, or Big Maceo and Tampa Read, Lonnie Johnson, or Memphis Minnie had sung to them from that same stage without the electric instruments.
The real Black blues when it was based among us, was about singing, about commentary. For even the greatest guitarists like Riley, Lonnie Johnson, T-Bone Walker, Johnny Lee Hooker, Guitar Slim, the guitar playing and the band were just ways to emphasize how the to talk to audience. This brings to mind that great Betty Carter Album, "The Audience and Betty Carter." This is the Blues People and Riley King talking to each other. That's priceless, get it, and listen to it.

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Japanese only SACD pressing. Universal. 2011.--This text refers to an alternate Audio CD edition.

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John Mayer - Any Given Thursday (2003) Review

John Mayer - Any Given Thursday (2003)
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If you love the eccentric, amazing, & personal things that are John Mayer, you have to buy this! I have watched and rewatched this DVD, and rewatched it many more times with the commentary by John and Scotty Crowe. The set (as only 'Room For Squares' and 'Inside Wants Out' had been released at the time) is very good and you should definitely see it if you like John Mayer. If, as a previous review suggested, you do not enjoy watching John live, then buy the live CD. I personally believe the music is quality, which is hard to find these days. John Mayer is totally live with no annoying lip-syncing, lengthy costume changes, overdone pyro, etc. It's refreshing to see an artist like this on stage. His unique "guitar faces" (as JM himself says on this DVD) and "dances" could be unpleasant to some I suppose. But appreciate the fact that it is a live show! No editing of the vocals has been done, etc. His guitar skills are amazing! I strongly suggest going to see John Mayer on tour, because you get to see even more impressive things than this. The DVD does do a good job of showing what he is like. He talks/rambles in the show which is extremely funny with his wit. He also (I believe) sings beautifully. He covers The Police's 'Message In A Bottle' and then Stevie Ray Vaughan's 'Lenny' before going into his older and unreleased song 'Man on the Side'. Make sure you listen to the commentary! His sense of humor is great, and it provides you with a greater appreciation for him as a person.

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3x5 No Such Thing Back To You City Love Love Song For No One Why Georgia Your Body Is A Wonderland My Stupid Mouth Comfortable Neon

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461 Ocean Boulevard Review

461 Ocean Boulevard
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Choosing between this album and Clapton's previous studio masterwork, LAYLA, makes for an interesting debate. 461 OCEAN BOULEVARD lacks Layla's smoldering extended jamming, striking a more upbeat, restrained, and radio-friendly tone instead. The rockers "Motherless Children" and "Mainline Florida" open and close the album. In between we have tender ballads such as "Please Be with Me" and the achingly beautiful "Let It Grow," which shows what an underappreciated songwriter EC is. As always, there are great covers that he imbues with his own distinct flavor -- "Willie and the Hand Jive," Elmore James's "I Can't Hold Out" and Robert Johnson's "Steady Rollin' Man." Years before the Police came along, Eric brought reggae to the mainstream with the #1 hit "I Shot the Sheriff." Each one is a standout.
That said, this CD release has one serious deficiency. When first released on vinyl in 1974, the album's second song was a Clapton original called "Better Make It through Today." When remastered for CD, it was replaced by "Give Me Strength." I always believed that "Better Make It through Today" was integral to this album's success, and its absence is awfully conspicuous. The back cover of the vinyl version of 461 OCEAN BOULEVARD contains a notation saying that "Better Make It through Today" was recorded at Dynamic Studios in Kingston, Jamaica, whereas the rest of the album was recorded at Criteria Studios in Miami. Clapton's 1975 follow-up, THERE'S ONE IN EVERY CROWD, was also recorded at that studio in Jamaica, and sure enough "Better Make It through Today" now appears on the CD version of that album. Perhaps it was never supposed to appear on 461 OCEAN BOULEVARD, but people are right to complain about the change. So this album gets two ratings. The old vinyl release gets 5 stars while this CD release is downgraded slightly to 4.5 stars, which is still pretty damn good.

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From the Cradle Review

From the Cradle
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I almost laughed reading what a previous reviewer said about this album "lacking soul". Man, this is what Eric Clapton is all about. He loves the blues, he lived the blues, he is a blues man. When you hear him growl in "Groaning the Blues", that's Eric practically ripping out his larynx singing the blues to its low-down-and-dirtiest. Eric keeps the blues's integrity alive by recording the songs straight-forward without any overdubs (sans Motherless Child), and yet the sound of the songs are uniquely his own even though they are covers.
And his guitarwork in this album is unparalleled. FIVE LONG YEARS will blow you away. I listened to that song over and over and over and I couldn't get enough of it. If this won't get you to play air guitar, nothing will.
This, in my opinion, is Eric Clapton's best work, period. Eric should have never gone astray to record hoary pop standards; his home is the blues. Don't listen to what the purists say; they don't know anything. Listen to this CD instead.

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Blues Legends: Albert King - Live in Sweden Review

Blues Legends: Albert King - Live in Sweden
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Well it is absolutely about darn time a DVD was released dealing exclusively with the single greatest and most influential Blues guitarist of all time. This DVD certainly has its limitations. It was filmed in 1980 and the wonders of technology haven't done much to improve the audio or visual quality. It is also disappointingly skimpy. Just fifty-eight minutes and that includes pieces of an interview. When I saw the track listing, I was thrilled to see "Summertime". I could hear King's haunting guitar on the standard, and my mouth began to water. Unfortunately, Albert sat this one out, and it is just his band doing a nice, but predictable Jazz version.
Imperfections aside, if you know Albert King's work, you are invariably a fan, and so this DVD is an essential buy. There's plenty of good camera work showing King's giant paws working the frets and choking the you know what out of Lucy, the Gibson Flying V guitar that Albert calls, "My honey". We hear his signature tune "Born Under a Bad Sign" (I still haven't heard a version that wasn't just a little better than decent without King's Stax Records compadres Booker T. & the MGs backing him up) and the standard "The Very Thought of You", which shows that the deep voiced Blues giant was also one heck of a soulful singer, and that though Jimi Hendrix and Stevie Ray Vaughn could almost match his power, they never came close to his tastefulness and touch.
King definitely provides great highlights, not only with his playing, but with his always perfectly timed "Woooooooos!" and "Yeahhhhs!". Those moments are great examples of Albert King style Blues. Orgasmic bursts of joy that could instantly cure the bluest man's blues.
Usually depicted as a gruff giant, King comes across more as a lovable teddy bear in the snippets of the interview. I found him to be truly endearing as he chuckles at things he just said. The interview, though pretty skimpy as well, and also the closing number make everything worth while. He does a wonderful version of "As the Years Go Passing By". And as they pass on by, the world will never see his equal. Every year I hear of a new guy on the scene who is being hailed as the heir apparent, but there will never be another Albert King.

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Born in Indianola, Mississippi, Albert King remains one of the mostinfluential blues guitarists of all time and enjoyed a successful career that spanned fourdecades, with wide critical and commercial acceptance throughout the world. The left- handed blues giant wrenched stinging solos from his trademark Gibson Flying V,informing the sound and style of such admirers as Eric Clapton, Luther Allison, StevieRay Vaughan, Taj Mahal and Jimi Hendrix. This never before released concert filmpresents King in top form, tearing through his signature songs at the peak of his career.Songs include "Born under a Bad Sign," "The Sky Is Crying," "The Very Thought ofYou," "Cadillac Assembly Line," "Summertime," "Cold Women with Warm Hearts," "Asthe Years Go Passing By."

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Cream - Royal Albert Hall - London May 2-3-5-6 2005 (2005) Review

Cream - Royal Albert Hall - London May 2-3-5-6 2005 (2005)
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I bought this DVD with some degree of trepidation given that most of these reunion gigs/albums whatever seldom live up to the hype Rumours have abounded about Jack Bruce's poor health and finances as well as personal emnities between the various band members but in the end I could not pass it up.
From the moment that the band walked on the stage I had a lump in my throat and from the very fist note it was clear that in the intervening years since Goodbye Cream the only thing that had changed was the degree of skill and virtuosity that each possessed had increased.
I am not churlish about the song selection given the stated number of songs that the trio had played together summed to only 35 as per Bruce including the ones that had never been played. I am sure that each of us has our own favourites that we wanted them to play and we were disappointed by their exclusion but ce la vie. I do agree with others that a gesture to the diehard fans about making available the totality of the concerts available on CD would be a good one. Especially since Eric has done it before regarding his solo performances in the same venue.
Before foccussing on the songs I must say that for me the most poignant moment can when they were performing Badge and Clapton left the section attributed to his friend George on the album silent before resuming his blistering, very heartfelt playing. If these shows are about anything it is about learning that life is too short for holding grudges and we should all be thankful of each opportunity to share our wonderful gifts with others.
Aside from the music the highlights of this two disc set lie in the camera shot of Brian May in the audience during the performance, another friend who has been a good asscoiate of Eric's in recent years and the brief interviews, alas each done separately giving us insight into the shows.
AS for the music, it is a shock to the system to see what these three old men can put out on stage just in terms of the sheer power of the trio. The band rehearsed a lot we know but the blistering improvisations remain outstanding and the Grateful Dead would be proud. The interplay between Bruce and Clapton was a joy to behold and Bruce's bass almost seemed to be alive. Ginger Baker may be getting on a bit but he can still pound the life out of the drum kit.
For me Crossroads brought tears to my eyes as did Badge, The initial chords of the blues song seemed an anachronism in an odd sort of way but Clapton has a way of giving each song another idiosyncratic feel at the heart of the blues tradition but at the same time in a very contemporary manner. His seemingly endless capacity to express his emotions in a different way in each song in such an easy manner is incredible and that was no more so in evidence in We're Going Wrong.
To me none of the songs were a disappointment even Pressed Rat and Wharthog which even seemed to belong. You almost wanted the discs to go on forever and the surprising thing is that by the end they do not seem to have been on long at all.
I thought that I had seen the pinnacle of Clapton playing at the Concert for George in the loving yet mournful rendition of While My Guitar Gently Weeps yet in these shows you found the full gamut of hurt and anguish, joy and pain, being delivered almost offhandedly by a Clapton whose own life experiences have earned him the term blues player. These three guys on the stage infront of such a mixed age audience drew us all in the to excellent playing and in effect into their own intimate relationship. The DVD selection in the fantastic sound derserves to be in every home.
Cream we salute thee. The Cream is dead. Long live the Cream.

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In May of 2005 Cream returned to London's Royal Albert Hall-to the same stage where they had completed what was thought to be their final performance in 1968. It was one of the most eagerly anticipated, hard-to-get tickets in rock history. With the exception of a brief reunion set at their 1993 induction into the Rock and roll Hall of Fame, Cream had not played together in nearly four decades. This DVD documents Cream's momentous London shows. Performances from each of the four nights are featured and much more. Also included are alternate performances and interviews with Ginger Baker, Jack Bruce, and Eric Clapton. Cream formed in 1966 and disbanded in 1968. The band were a prolific and thrilling live act and toured incessantly in their short but remarkable history.Track Listings: I'm So Glad, Spoonful, Outside Woman Blues, Pressed Rat & Warthog, Sleepy Time Time, N.S.U., Badge, Politician, Sweet Wine, Rollin' & Tumblin', Stormy Monday, Deserted Cities of the Heart, Born Under a Bad Sign, We're Going Wrong, Crossroads, Sitting on Top of the World, White Room, Toad, Sunshine of Your Love, Spoonful (Alternate Takes), Sleepy Time Time (Alternate Takes), Badge (Alternate Takes), Sweet Wine (Alternate Takes), Rollin' & Tumblin', We're Going Wrong, White Room, Sunshine of Your Love

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